Othello: Critical EssaysPhilip Kolin Routledge, 11. 1. 2013 - Počet stran: 472 Including twenty-one groundbreaking chapters that examine one of Shakespeare's most complex tragedies. Othello: Critical Essays explores issues of friendship and fealty, love and betrayal, race and gender issues, and much more. |
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Výsledky 1-5 z 68
Strana 6
... figure in a morality play. Unlike the morality Vice, however, he does not simply challenge accepted morality but is also the spokesperson for racist and patriarchal platitudes. His position is a sort of mediator between audience and ...
... figure in a morality play. Unlike the morality Vice, however, he does not simply challenge accepted morality but is also the spokesperson for racist and patriarchal platitudes. His position is a sort of mediator between audience and ...
Strana 8
... figure? Othello, fatally flawed by his mixture of self-regard and insecurity? Or Iago, the active embodiment of evil?” (“Review”). Pechter notes: “Othello is the only tragedy in which the protagonist does not have the most lines to ...
... figure? Othello, fatally flawed by his mixture of self-regard and insecurity? Or Iago, the active embodiment of evil?” (“Review”). Pechter notes: “Othello is the only tragedy in which the protagonist does not have the most lines to ...
Strana 9
... figure: Othello is, in one sense of the word, by far the most romantic figmre among Shakespeare's heroes; and he is so partly from the strange life of war and adventure which he has lived from childhood. He does not Blackness Made l ...
... figure: Othello is, in one sense of the word, by far the most romantic figmre among Shakespeare's heroes; and he is so partly from the strange life of war and adventure which he has lived from childhood. He does not Blackness Made l ...
Strana 10
... figure, by adopting an aesthetic rather than a moral attitude, dramatising himself against his environment. He takes in the spectator, but the human motive is primarily to take in himself. I do not believe that any writer has ever ...
... figure, by adopting an aesthetic rather than a moral attitude, dramatising himself against his environment. He takes in the spectator, but the human motive is primarily to take in himself. I do not believe that any writer has ever ...
Strana 25
... “The preferred choice today is, therefore, to treat Iago rather than the figures on the bed as the object of that poisonous sight and to direct him to be 'hid' or taken offstage. Bedford, who had no bed Blackness Made Visible 25.
... “The preferred choice today is, therefore, to treat Iago rather than the figures on the bed as the object of that poisonous sight and to direct him to be 'hid' or taken offstage. Bedford, who had no bed Blackness Made Visible 25.
Obsah
1 | |
The Audiences Role in Othello | 89 |
The Production of Race in Othello | 103 |
Images of White Identity in Othello | 133 |
Roderigo and the Mixed Dramaturgy of Race and Gender in Othello | 147 |
Othellos Judaic Ancestry | 169 |
The State and the Subject of Othello | 189 |
Venetian Ideology or Transversal Power? Iagos Motives and the Means by which Othello Falls | 203 |
Early Modern Jury Trials and the Equitable Judgments of Tragedy | 293 |
Othello Among the Sonnets | 325 |
Tropes of Damnation and Nothingness | 347 |
A Semiotics of Eyeconography in Othello | 363 |
Physiologies and Anatomies in Othello | 379 |
Reading Othello Backwards | 391 |
The Mystery of the Early Othello Texts | 401 |
Stage Violence in Othello | 425 |
Portrait of a Marriage | 221 |
Desdemona Emilia and the Doctrine of Obedience in Othello | 233 |
Morality Ethics and the Failure of Love in Shakespeares Othello | 255 |
Water Imagery and Religious Diversity in Othello | 271 |
An Interview with Kent Thompson Artistic Director of the Alabama Shakespeare Festival | 441 |
Notes on the Contributors | 456 |
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